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The UK rock scene is a bubbling cauldron of predatory invention and ferocious enterprise right now, especially in the underground scene. Kent band Crashgate is one of the reasons and right to the fore of the bands picking up steam to seriously challenge and stand aside the big boys in the future. Further evidence of this comes with new single Tear It Down, a raucous and rousing slab of aggressive rock ‘n’ roll fusing metal fury to a melodic hard rock tempest.

An attention grabbing proposition from almost day one after forming in 2011, Crashgate has increasingly grown in sound and stature. From a feverishly supported local attraction, the Deal hailing quintet has inspired a national bred buzz around themselves thanks to an adrenaline fuelled live presence and equally impacting releases. 2012 saw the band’s first release, the B.O.B EP igniting a breath of greater interest but it was debut album Crude Jokes, Death Notes & Unicorns which pushed and confirmed Crashgate as one of Britain’s rising rock talents. 2014 was a highly successful year for the band which they now continue with Tear It Down, a track hailing from their first album. Ever insatiable live and working towards their second album, Crashgate are at that point where big spotlights are surely beckoning.

Tear It Down opens with big bulging beats which soon lure in just as hungry and feisty riffs. It is a powerful lead which is only reinforced as the impressive vocals of Craig Sheridan start to roar alongside the fiery enterprise of guitarists Brian Andrews and Toby Dorman, both also providing some bracing backing snarls and vocals. The song soon shows it has a melodic heart but within a body unafraid to threateningly growl and unleash a predacious assault, an intimidation driven by the heavy swipes of drummer Richard Keeler and the black hearted and alluring basslines of Shaun Roche.

The single continues to kick up a thrilling storm, hooks and twists as addictively persuasive as the main blazing thrust of the thoroughly compelling proposition. Tear It Down confirms British rock is in a very healthy state and thanks to bands like Crashgate and songs like itself, a voraciously exciting one too.

It is hard to get enough of out and out heavy booted rock ‘n’ roll, especially when it comes in the kind of shape of the self-titled debut album from Italian rockers Madre De Dios. Consisting of eleven tracks which blaze away with all the instinctive and prime essentials any thumping rock song needs, the quartet’s introduction is a stomp of impassioned energy. The band is not interested in break down walls of originality it is probably fair to say but in bringing a release which anyone can give their bodies and pleasure to, the band has an undoubted success on their hands.

Hailing from Bari, Madre De Dios was formed in 2010 by guitarist Stefano Pomponio aka S.P. Jesus (Natron). The band’s first line-up was completed by bassist Gigi D’Angella (Anuseye), vocalist/guitarist Gianpaolo di Stasi (Stainer), and drummer Marco Ninni (Swedish Death Candy), a foursome who’s live presence was soon luring in increasing masses of devoted fans. Over time a more stoner-esque character emerged in their heavy rock ‘n’ roll propositions, their sound continuing to evolve as a shuffle in personnel saw vocalist Frank Bizarre (The Missing, Cafè Bizarre) and drummer Vince Floro (Stainer) replace di Stasi and Ninni respectively; the latter joining the band after his predecessor had recorded the album in 2013, and a year’s break for the band soon after. As the album, swiftly shows, the band’s sound draws in numerous spices from varying decades to create something familiar yet fresh and compelling. With shows with bands like Bud Spencer Blues Explosion also on their CV, 2015 is looking like turning into a potent and break-through year for Madre De Dios, especially as their album grips many more appetites like ours week by week.

The albums gripping devilry opens with The Evil Guide, a song exploding from a crotchety riff into a full on assault of bracing grooves and pungent rhythms within a blaze of melodic enterprise and tenacity. There is an immediate snarl to the song but equally a captivating infectiousness, every element an anthemic lure in the rigorous persuasion of the excellent incitement of feet and appetite. Just as swiftly the craft and creative attitude of the band is an open temptation too, every swing of the sticks, casting of tangy grooves, and vocal expression drenched in a stirring energy driven by personal adventure.

The same applies to the following High Living in the Sunshine, well every song on the album to be truthful, the track making a more deliberately controlled entrance but loaded with thick spicy grooves which make slavery of ears and imagination right away. Exploring a potent mix of hard and classic rock, the song is soon leading the listener in a sing-a-long chorus and head nodding participation for the slower but catchy stroll of its surrounding verses. Not as dramatically persuasive as its predecessor maybe, the song is still soon a masterful treat, and even more so once bluesy stoner bred temptation begins to colour the song’s increasingly appealing canvas.

That blues tang is just as ripe in Flamingos! which comes next, its rich spicery again merging with a more classic roar of rock as jabbing beats keep an antagonistic edge to the rhythmic side of the infectious encounter. This virulence is exploited further in the similarly sculpted Big Head. Coming straight out of the previous track there is an unmissable similarity to certainly the riffs and grooves of the song, though that is tempered by the excellent grizzly growl of D’Angella’s bass and the ever engaging dusty vocals of Bizarre, not forgetting a grunge meets stoner air which at times has a slight feel of Kyuss and Gruntruck to it.

I Crashed Your Car opens up our favourite part of the album, its rhythmic agitation and fiery melodies an exciting and inventive embrace for the magnetic vocals and creative majesty of Jesus’ solos. The throaty bassline also adds further irresistible bait for ears, its dark presence contrasting and complementing the increasingly imaginative weave of raw and spellbinding melodic ingenuity. As great as it is though, the song is just the appetiser for the delicious exciting meals of Shake it Baby and Mad City. The first as so many, just slips out of the song before with seamless and natural ease, and straight away unleashes an enthralling and invigorating rock ‘n’ roll dance. Like a sonic epidemic, the track is soon infesting ears and psyche, not to mention body and soul, as riffs and beats unite in a merciless temptation whilst grooves and vocals toy with the passions. Hooks are spilled left right and centre across the adventure whilst the bass has lips licking in excitement even just thinking about its lures. The brilliant proposition is matched by the just as insatiable tempting instrumental which follows, Mad City a foot to the metal juggernaut of toxic riffs and just as venomous grooves within a tempest of rhythmic and sonic charging. If you are aware of the equally addictive Buzzcocks track Late for the Train from Love Bites, you will understand the unrelenting potency of the track.

A mischievous nature adds to the raucous bellow of Ordinary Man next, the song another creatively stormy and exhaustingly fun rock ‘n’ roll romp matched by the excellent cover of The Beatles’ Helter Skelter, renamed Mater Skelter here. The Siouxsie and The Banshees version still holds the heart but Madre De Dios’ cover definitely gives it a run for its money at times, the band not twisting it around too much but still giving it their own spirited slant.

The album is completed by the stoner blues breathing Merry Go Round Song, a song which seems part Pearl Jam and part The Black Crowes, with a scent of Clutch but again finding something more to stand out, and lastly by the spatial adventure of Orbit. The final track seems to draw on all the flavours permeating album and sound so far, casting them all into its own individual escapade of eighties, nineties, and modern day rock ‘n’ roll. Like the album as a whole, it makes no demands and makes accessibility and enjoyment a done deal within the first handful of seconds, but as on all tracks it offers plenty of imagination and enterprise to be an intriguing and thrilling proposal at every turn.

If you want ground-breaking stuff, want to have your boundaries pushed into new realms, Madre De Dios will please to a certain extent but if you want rock music to leave you bloated on undiluted pleasure and fun then band and album is a must.

Madre De Dios is available on most digital music platforms and CD through Red Cat Promotion.

Hitting the listener like a venomously swung sledgehammer in its first breath and proceeding to increase in hostility and brilliance from thereon in, Night Heaver simply blows thoughts and emotions away. The debut EP from British hard rock/metallers The NX, the four track onslaught is a dramatic and breath-taking introduction to a band sure to make a major impact on the UK music scene if their first trespass of the senses is any evidence.

Possibly the strength and quality of Night Heaver could be expected as The NX features former members of The Casino Brawl in its line-up; nothing is ever guaranteed though and the band swiftly show they are a unique and potential drenched proposition in their own right with the EP. Formed a few years ago in the north east of England, The NX soon bred a potent reputation and following as they proceeded to ignite venues with their live presence, which over the years has seen them play with the likes of The Chariot, This Is Hell, Enter Shikari, Bring Me The Horizon, Penknife Lovelife, Heights, Yashin, Job for A Cowboy, The Casino Brawl, Deaf Havana, Devil Sold His Soul amongst many more. Returning from a prolonged hiatus, the band unleashed their creative fury again from the end of 2013, a new line up and appetite to create more contagiously aggressive shows and sounds driving the band’s return, which has included so far successful tours with Funeral For A Friend, Hacktivist, and The Blackout. It has all added to a growing anticipation for the band’s debut EP, and there is no doubt that Night Heaver feeds all hopes and wants with ease whilst providing much more.

Lonnie Johnson’s Greatest Hit is an immediate raging bellow in the ears but equally a compelling web of heavy rock grooves and spicy hooks with a tempestuous rhythmic incitement. Quite swiftly like a blend of Every Time I Die, Turbonegro, and Cancer Bats with its own distinctive roar, the track takes no prisoners. The venomous vocal squalls of Warby Warburton intrude and entice with rasping causticity whilst the spicy hooks and scorching grooves of Mark Thirtle seduce and scar with equal tenacity. There is also great unpredictability to the track which shines out, the sudden twists and dips into intriguing and at times sinister invention, mouth-watering and ear catching.

It is a potent start but personally just an appetiser for bigger and better things to come, starting with The Great Unwashed. The second track immediately has a dirty air to its breath and opening riffs, an antagonistic nature which is urged in by the great bassline cast by Glen Holmes and spread with intensity through the swiftly following blaze of guitar punctured by the viciously swung beats of drummer Luke Walker. Every syllable spat from Warburton comes with a soaking of malice, a rancor matched by the rest of the track though it too is unafraid to offer catchy hooks and anthemic vocal calls against the clanging steely tone of the guitars and an overall merciless ferocity.

Yet another plateau is breached with the following The Day It Rained Forever, the opening grouchy coaxing of another irresistible bassline aligning to thumping beats for the first potent bait from the song. Soon though it is prowling and seducing as great cantankerous vocals, which initially hold a sobering air, add their interest in proceedings before they are venting with rich malevolence amidst a web of tangy grooves and psychotic rhythmic enterprise. As hardcore punk as it is metallically infused, the song is a glorious maelstrom which twists and turns as if it has the creative mania of St. Vitus Dance. Equipped with a closing noise fostered chorus which is impossible to leave alone, the track is one big reason for suspecting The NX will take their history to new major climes.

It is a suspicion done no harm by the other songs and especially the raging Let Sleeping Dogs Lie which brings the EP to an immense close. In a way opening in similar fashion to how its predecessor parted, the track brawls and violates the senses with another hardcore bred ferocity and corrosive inventiveness. Every riff scowl and hostile vocal expression exhausts and smothers the senses which in turn are invigorated by an incitement of hard rock melodies and spiky hooks which erupt and surge from time to time across the ever evolving provocation.

The song is an outstanding end to a tremendous release, the kind of debut fans were hoping and delivering a startling and thrilling adventure which declares The NX as a new inescapable force in British rock ‘n’ roll.

The Night Heaver EP is available from February 23rd on EP and digitally via Footloose Records and all stores.

Formed in 2010, it is fair to say that UK‘s Nightblade has been a pungent force of muscular hard rock and NWOBHM inspired tenacity which with its increasingly potent evolution in sound, has been a presence locally and increasingly further afield, commanding keen notice. The tail end of last year saw their finest offering yet in the shape of magnetic EP Crisis Has No Prejudice. Consisting of three tracks that impressively fed an ever broadening spotlight on the band, it is now being reinforced by the release of its title track on February 9th.

The emergence of the Kidderminster hailing Nightblade has been ripe with successful shows alongside the likes of Snakecharmer, Diamond Head, Graham Bonnet(ex-Rainbow, Iron Butterfly), and Uli Jon Roth(ex-Scorpions) amongst many. Alongside that, the quartet has unleashed a clutch of highly persuasive encounters, from debut album Servant To Your Lair in 2011, through its successor Closer To The Threshold two years later to their current temptation Crisis has no Prejudice. All have found an eager welcome not only at home but across the metal world, as well as with its media. The latest EP is another step forward in their ascent and its new single, a big lure into their accomplished and stirring sound.

The track immediately has ears bound in a tangy grooved and crisp rhythmic persuasion, one courted by a just as potent and sturdy bassline. Within a few breaths, a melodic web is adding its thick tempting as the equally magnetic vocals almost prowl with the song’s narrative. There is a great rawness to the certainly melodic tone of the vocals; an edge which matches the predacious stride of Crisis has no Prejudice and its anthemic but stalking presence. It is fair to say the song, and in many ways the band’s sound is not worrying the boundaries of originality, clasping faithfully the essences of their inspirations, but with a fresh breath and creative adventure of classic metal enterprise, sits enjoyably apart from much of the crowd offering similarly sculpted bait.

2015 has the potential to be another big year for the quartet of vocalist Mark Crosby, guitarist Dave Parish, bassist Bill Fitzsimmons, and drummer Eddie Neale; it has certainly got off to a powerful start with Crisis Has No Prejudice.

Bracingly raw and with an attitude and character as mischievous as it is antagonistic, Born To Kill the debut album from Spanish rockers The Sick Side, is like one of those companions you know you should not hang out with as they will only get you into trouble but you just cannot resist the anarchic and brazen seduction. A brawl of hard rock and heavy metal with a very healthy fuelling of punk rock, the release is a potential soaked riot of fun, unclean rock ‘n’ roll from a band which breeding a keen appetite for is very easy.

Storming out of Montblanc, a town in the Catalonian province of Tarragona, the quartet of Xavi Granados (vocals /guitar), Xavi Nuez (vocals /guitar), Sergio Martinez (bass), and Joan Pérez (drums) equip their album with a middle finger driven sound and adventure which demands and commands attention. Formed in 2012 and conducting their first rehearsals and song writing exploits in a garage right next to a cemetery, the perfect landscape for the creation of their devilish brew of sound it is easy to suggest, The Sick Side spent the following year working towards and on Born to Kill. Recorded at the Más Allá Studios in Valls, the album is an instant ear grabbing and furious incitement of energy and tenacity. As mentioned it is a raw and rough around the gills encounter but one we suggest fans of filthy punk and rock ‘n’ roll will get a real kick out of.

The album’s first track Looking For quickly lays down a tasty indication of what is in store within Born to Kill. Though not the strongest track on the release, its snarling vocal led weave of sonic enterprise and thumping rhythms within a caustic wall of riffs is a flavoursome appetiser for bigger things. Essences of Judas Priest like metal, Motorhead bred antagonism, and melodic toxicity collude from within the song to add further bait to the not remarkable but solid opening, an entrance backed forcibly by the Turbonegro like She Is A Whore which follows. As the first song, the craft and imagination of the band is captivating bait within the caustic rock ’n’ roll shaping the proposition, but there is a brighter spark of energy to it which sets up ears and appetite perfectly for the next step forward which comes in the fiery shape of Hanging Around.

The album’s third track has feet and emotions hooked from its opening lure of bass and a swiftly aligning roll of beats. Both Granados and Nuez share the vocal lead across the album, a mix and variety which only adds to the unpredictable nature and adventure of songs, and as shown here when those vocals come in hand in hand with a spicy blaze of guitar sculpted sonic design it works a treat. The hints of punk which whisper in the opening pair of songs is a broader and louder anthemic roar here too giving a great simplistic balance to the skilled and inventive veining of guitar endeavour alongside. Ramones meets Crashdiet; the track is a contagious stomp pushing the album up yet another notch with ease.

Both the heavy rhythmic stride and imposing presence of Jenny and the tangy blues shading of Alice hold ears and appetite firmly bound in catchy intriguing persuasion. The first of the two has a more serious nature to its character, parading a less rebellious and slightly more composed weight to its presence whilst its successor toys the senses with a blues garage rock spicing, both adding variety and fresh adventure to the album. Each also has glimpses of a more Billy Idol like glam punk spicing at their hearts, just whispers but proving more colouring to their resourceful and pleasing offerings.

Things continue to grip body and thoughts as Lights Are Always Bright romps with pop punk devilment, well pop punk caked in scowling vocals and riffs which collude with unpolished barbed littered hooks. It results in a tightly grabbing contagion which is emulated by a song called Track 1, where again heavy rock and melodic punk unite to create an abrasing confrontation with searing heavy metal veining alongside attention holding craft from the band. Both tracks keep things moving along enjoyably before the devilry of A Crime Against Humanity with its distinctive vocal delivery and addictive rhythms, steps up to forge another peak in the presence of Born To Kill, a new level reinforced by the album’s title track and the outstanding War. With a touch of hardcore punk teasing in the first, and heavy metal rabidity colouring the brilliance of the second of the three, the band leave the third to add the juiciest onslaught of the album. War is a belligerence of riffs and rapier like beats from its first breath, the band uniting them and the subsequent roar of vocals and bass predation in a thrash inspired stalking of the senses with a nice feel of Testament to its voracious heavy rock tempest.

The final two songs of Lady Pheromon and The Sick Side impressively and easily ensures Born To Kill ends of a high. The first is an addiction forging slice of punk rock with another chorus to swiftly succumb to whilst the latter stomps around with stirring attitude and a punk metal swagger helped along by another excellent dark bassline courting a potent weave of riffs, hooks, and acidic grooves.

The two tracks make an enjoyable and ruggedly persuasive end to an outstanding introduction to The Sick Side. The album is unpolished and hostile, organic and ready to tear your head off, exactly as all dirt smothered rock ‘n’ roll should be from a band which can only grow and develop an even more striking and dangerous nature…something to eagerly anticipate on the evidence of Born to Kill.

The debut album from US heavy hard rockers Weight of the Tide is a seven track foray into a landscape of mountainous rhythms, thunderous riffs, and thick emotive intensity; an encounter which bristles with inventive songwriting and openly impressive craft. There is so much to recommend about Epilogue and its powerful contents but despite that it just does not light a fire in thoughts or emotions with its presence. It is certain to be different for individual ears and tastes yet you cannot help feeling that there is a beast of an incitement lurking inside an album lacking the incendiary spark to bring it to life and grab the attention plenty of its qualities deserve.

The Nevada quartet is the creation of vocalist/guitarist Mark Moots and drummer Jason Thomas, two musicians whose history together embraces the success and impressive sounds of December and individually The Swamp Donkey and Cranium respectively. Formed in 2012, Weight Of The Tide is completed by former Knightfall/Beard The Lion guitarist Jestin Phipps and ex-Red Cel bassist Marcus Mayhall. The band has already sparked strong ripples of attention through their live shows, where they have shared stages with the likes of Eyehategod, Diamond Head, A Pale Horse Named Death, Raven, Volture, Skinlab, 36 Crazyfists, and Gypsyhawk since emerging. Now the band is poised to awaken broader climes with their SpiralArms vocalist Tim Narducci and Drag Me Under guitarist Jeromy Ainsworth recorded and mixed album. As the band’s name suggests, Epilogue and its sound is an imposing and heavy immersive proposition which leaves a healthy appetite for the band ahead in its wake, just not the lustful excitement it could have.

With tracks bred in an exploration of “Love, loss, betrayal and, hopefully, perseverance”, in the words of Moots, Epilogue descends on ears and thoughts firstly with the crushing energy and creative intrigue of Ireland. Its sonic opening is soon drawn into a web of mightily swung beats and sonic resourcefulness, subsequently relaxing into a formidable and inventive examination of the senses. The guitars chug and flame with their varied resourcefulness whilst bass and drums create a barrage of bait and provocation, this around the strong tones of Moots. It is heavily enticing bait which manages to loosen its grip and adventure in places as potent melodies act as a temper to the riveting roar of the song. It is not a big deflation and only satisfaction and praise comes to the persistence of rich ideas and imaginative enterprise still tempting within the song, but it is enough for it to simply smoulder rather than blaze in personal tastes.

The open craft and skills of band and songs, as well as their adventure, is undeniable and just as prominent in the more gripping Proper Goodbye. A tapestry of guitar endeavour and great vocals embraces the listener first, its attraction an emotive enticing within sinew driven rhythms and a rawer provocation of riffs. There is also a sludgy atmosphere to the song which blossoms when the song slips into the dark shadows of increasingly intensive and predatory sounds. Without doubt the song and album is at its best and most inspiring when the band explores these ravenous twists and passages, welcome intrusions only enhanced by the spicy colour of solos and the sonic enterprise with the similarly sculpted yet individual Elder the immediate proof. Its heavy challenging entrance is an inescapable lure but hindered by stepping back in aggression for the Scott Weiland like vocals of Moots, who is at his weakest here and sounding like a fish out of the threatening waters around him.

Things take an unexpected turn next as Turning Point steps forward and the band reveals a pop punk/melodic rock adventure. It in many ways feels totally out of place on the album but is such a thumping and enjoyable fire of melodic energy and beaming enterprise it shines standing like a lighthouse in the dark landscape of Epilogue. Cynically you might say it is the band simply trying to place an open sure fire single of a doorway into the release but as it is one of the tracks which did have body and emotions fully involved there are no issues for us.

Both Stillwater and La Puerta grasp the previous heavy and at times exhausting oppressive sounds of earlier tracks, the first veining its lumbering intensity with a fine sonic toxicity whilst the second has a compelling argument to its aggression and sure swagger to its contagious stride. Each again though evades truly thrilling these maybe demanding ears, though both have varying ingredients, especially the latter, which means again we can only recommend people find out for themselves what these seriously accomplished songs offer.

Ending with the enthralling creative theatre and emotional Crowbar like turbulence of Fear And The Flame, the album leaves a potent impression and definite want to explore Weight Of The Tide closely in the future. Yes it did not get us rushing around exalting its praises but for a great many it is easy to suggest it will.

UK hard rock band Fire At Dawn has already been earning a potent reputation for their live performances since forming in 2013, but now have national attention in their sights with a self-titled debut EP. The five track release is a rather captivating introduction to the band, not one to declare the band as the future next big thing in British rock, but definitely a potential fuelled and feistily charming base for the band to spring from ahead.

Hailing from Southend, the quintet was swiftly drawing comparisons to bands such as Alter Bridge, Evanescence, and Muse with their sound. The EP shows there is more to their creativity than that though, an individual flavouring which may not yet be loudly showing but showing there is plenty more to come from Fire At Dawn as they evolve and one suspects subsequently sets themselves apart from the crowd. It is all there on parade from the first track of the release as a familiarity works with a just as magnetic invention to spark senses and appetite to want more.

Bad Trip is first, and as soon as the sultry wash of keys wraps ears, attention and intrigue are awoken. There is a fizz to the melodic opening, a strong coaxing which only benefits from the pungent rhythms and blaze of guitar which are soon adding their temptation. The strong lure slips a little as the song relaxes for the beginning of its lyrical narrative but nicely compensates with the seductive tones of Victoria Walker presenting them. The guitars of Brad Winter and Ross Turbz court her delivery with a spicy weave of melodies and riffs, the pair swiftly impressing with their enterprise and craft and increasingly so over the whole release. The song never explodes as its small crescendos suggest but firmly engages imagination and emotions from start to finish for a strong opening to the encounter.

The following Choose Me has a gentler start but like a sparkling wine has lively flavour to its acidic lure too. There is a definite eighties feel to the song as it unleashes infectious energy and fiery grooves, an essence which colours the whole song which also slips into something more reserved for the start of Walker’s vocals. Its catchiness is never far from the surface though especially with the bouncy beats of drummer Roman Drummond and dark basslines of Lloyd Entwistle making sure feet and thoughts are easily engaged across the song’s vibrant presence.

From the liveliness of two songs, Light explores a more restrained and shadow wrapped adventure. Emotive harmonies slip from Walker’s throat with impressive ease and potency whilst guitars and keys cast a radiance which caresses the senses with smouldering temptation. There is a melancholic but tenacious heart to the song which again threatens to erupt into more intimidating pastures, but it also finds itself on a constant rein even with the flame of sonic invention which drives a gripping solo. The track enthrals as it unveils its canvas and creative expression, subsequently making way for the closing pair of On Me and Run. Neither quite matches the previous songs as a whole, but each has moments of delicious endeavour and imagination. The first travels progressive scenery sculpted by again superb guitar work whilst its successor opens with a tangy twang to its chords and tempting which ignites a certain melodic mystique across the whole song musically and vocally. It is a fine end to the release, every part sizzling in ears without finding that key spark to ignite the roaring blaze you feel is there in the song and EP’s depths.

Fire At Dawn certainly inspires a hunger to know and hear more with their debut. It is lacking as mentioned a certain element and a snarl vocally and rhythmically to bring it fully to life, but such the quality and enjoyment the band do provide, that can be a question to address in future encounters whilst happily enjoying their introduction.

Fire At Dawn is available through all digital outlets on Monday 1st December.

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